DIGITAL DIPLOMA EXAMS:

MUSIC PERFORMANCE
DIPLOMAS SYLLABUS
Qualification specifications | ATCL & LTCL diplomas
from November 2020

MUSICIANSHIP
RECOGNITION
PERFORMANCE
EXPERTISE
PATHWAYS
KEEP UP TO DATE WITH OUR SYLLABUSES
Please check trinitycollege.com/digital-music-diplomas to make sure you are using
the latest version of the syllabus and for the latest information about our digital music
performance diplomas.

Trinity accepts entries for its exams on the condition that candidates conform to the
requirements of the appropriate syllabus. Any amendments to the requirements will
be published on our website.
DIGITAL DIPLOMA EXAMS:
MUSIC PERFORMANCE
DIPLOMAS SYLLABUS
Qualification specifications | ATCL & LTCL diplomas
from November 2020

Charity number England & Wales: 1014792

Charity number Scotland: SC049143
Patron: HRH The Duke of Kent KG
trinitycollege.com
Copyright © 2020 Trinity College London
Published by Trinity College London
Online edition, May 2021

1
Contents
3 / Welcome

4 / Introduction to Trinity’s digital music performance diplomas

8 / Learning outcomes

9 / About the exams

11 / Recital

15 / Programme & planning

16 / Submitting your exam for assessment

17 / Marking

21 / Diploma resources

2
 Welcome

Welcome
Welcome to Trinity College London’s syllabus for digital diploma exams, containing details of ATCL
and LTCL performance qualifications in a range of instruments and singing.
The digital diploma exams enable candidates to record their recital at a place and time of their
choice and then submit the video recording via our online platform to be assessed by our panel
of specialist diploma examiners. The exams retain the format of our face-to-face performance
diplomas, and are assessed to the same criteria, with candidates gaining full recognition for their
achievements, with the same certificate awarded as for the face-to-face exams.

Performance pathways
Trinity’s digital performance diplomas are available at ATCL and LTCL levels, each reflecting
progression beyond graded exams and providing pathways into professional musicianship.
This syllabus for digital diploma exams is based on the Music Performance Diplomas Syllabus
from August 2019, and so offers the same breadth of repertoire, giving candidates more choice.
Combined with the option to select own-choice pieces, this means that candidates can present
programmes that reflect their own unique musical interests and strengths.
The emphasis of these qualifications is on performance, with 96% of marks awarded for
the recital section. Candidates also provide a short, written programme, just as they would
when putting together a professional recital. This is uploaded and submitted online with
your filmed performance.
Performance expertise
Submit your programme online with our approvals form and receive feedback about your
selection from our panel of instrumental experts. You can also develop your performance with
our range of support resources available at trinitycollege.com/diploma-resources, which include
guidance on exam structure and preparation, support on building a programme and advice and
inspiration from our professional diploma alumni.
Performance recognition
Gain a respected qualification that is recognised globally. Our performance diplomas are a
pathway to professional musicianship, and successful candidates are entitled to use post-nominal
letters after their name:
◗ ATCL (Associate of Trinity College London)
◗ LTCL (Licentiate of Trinity College London)
We hope you enjoy exploring the music on offer in this syllabus and we wish you every success
in the exams and your wider music-making.

ABOUT TRINITY COLLEGE LONDON

Trinity College London is a leading international exam board and independent education
charity that has been providing assessments around the world since 1877. We specialise in the
assessment of communicative and performance skills covering music, drama, combined arts and
English language. With over 850,000 candidates a year in more than 60 countries worldwide,
Trinity qualifications are specifically designed to help students progress. Our aim is to inspire
teachers and learners through the creation of assessments that are enjoyable to prepare for,
rewarding to teach and that develop the skills needed in real life.
At the heart of Trinity’s work is the belief that effective communicative and performance skills are
life enhancing, know no boundaries and should be within reach of us all. We exist to promote and
foster the best possible communicative and performance skills through assessment, content and
training that is innovative, personal and authentic.
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Introduction to Trinity’s digital music performance diplomas

Introduction to Trinity’s digital

music performance diplomas
OBJECTIVE OF TRINITY’S MUSIC
PERFORMANCE DIPLOMA
QUALIFICATIONS
Trinity’s music diplomas offer candidates
a comprehensive range of professional
qualifications. The digital versions of the
performance diplomas are offered at two
levels — ATCL and LTCL.
KEY NOTES
1. To take this assessment you must have
access to:
◗ A high-quality audio-visual recording
device with enough storage for your
performance (eg a good quality mobile
phone, tablet, laptop or video camera)

They are designed to appeal both to those
aspiring to various branches of the profession,
and those already involved in it who may
be seeking to gain recognition for new or
existing skills.
They offer learners the opportunity to
measure their musical development
against a series of internationally
understood benchmarks:
◗ Level 4 — equivalent standard to the first
year of an undergraduate degree course
◗ Level 6 — equivalent standard to the final
year of an undergraduate degree course
WHO THE QUALIFICATIONS ARE FOR
Trinity’s music performance diplomas are open
to all learners. There are no age restrictions,
and at ATCL and LTCL levels there is no
requirement to have passed lower grades,
theory exams or other qualifications.
Trinity is committed to making its exams
accessible to all, and each candidate is
treated individually when considering
how assessments can be adapted for
those with special needs. Find out more
at trinitycollege.com/music-csn
◗ The internet — to upload your
performance video and supporting files
2. All performances must be submitted as one
continual performance. Any evidence of
editing will result in a syllabus infringement
and your exam will not be assessed.
3. You can be given assistance to film your
performance, and another person can
be present as an accompanist. However,
indications of pulse, verbal or non-
verbal entry cues, or the playing of an
additional instrument will result in a
syllabus infringement.
4. Audio and video must be recorded
simultaneously and no pre- or post-
production techniques should be
applied to the video.

ENTRY REQUIREMENTS
There are no prerequisites for ATCL or LTCL.

4
 Introduction to Trinity’s digital music performance diplomas

DURATION OF STUDY (TOTAL QUALIFICATION TIME)

All regulated qualifications are assigned a total qualification time. This should be used as
guidance only. Total qualification time is an estimate of the average time a candidate spends
with a teacher (guided learning hours) added to the average time spent learning independently.
It is recognised that the amount of time needed to commit to a qualification will be dependent
on each individual’s level of experience.

Guided learning hours Independent learning hours Total qualification time

(GLH) (ILH) (TQT) (hours)

ATCL 54 846 900

LTCL 108 1,692 1,800

ASSESSMENT AND MARKING WHERE THE QUALIFICATIONS

Trinity’s performance diploma qualifications
are assessed by external examiners trained
and moderated by Trinity. Examiners provide
marks and comments for each component of
the exam using the assessment criteria
on pages 18–20.
ATCL and LTCL diplomas are marked out
of 100. Candidates’ results correspond to
different attainment levels as follows:
COULD LEAD
While for some learners music performance
diplomas represent a personal goal or
objective, they can also be used as a
progression route towards:
◗ Higher level diplomas offered by Trinity
and by other awarding organisations
◗ Postgraduate music courses at
conservatoires and universities

Total mark Attainment level

◗ Employment opportunities in music
and the creative arts
80–100 DISTINCTION

60–79 PASS

45–59 BELOW PASS 1

0–44 BELOW PASS 2

See pages 17–20 for further information about

how the exams are assessed.

RECOGNITION
Trinity College London is an international
exam board regulated by Ofqual (Office
of Qualifications and Examinations
Regulation) in England, CCEA Regulation
in Northern Ireland and by Qualifications
Wales. Various arrangements are in
place with governmental education
authorities worldwide.

5
Introduction to Trinity’s adapted music performance diplomas

REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS

RQF* EQF** Classical Rock Theory Solo Group

Level Level & Jazz & Pop & Written Digital Certificates† Certificates†

7 7 FTCL

6 6 LTCL LMusTCL LTCL

4 5 ATCL AMusTCL ATCL

Grade 8 Grade 8 Grade 8 Grade 8 Advanced Advanced

3 4 Grade 7 Grade 7 Grade 7 Grade 7

Grade 6 Grade 6 Grade 6 Grade 6

Grade 5 Grade 5 Grade 5 Grade 5 Intermediate Intermediate

2 3
Grade 4 Grade 4 Grade 4 Grade 4

Grade 3 Grade 3 Grade 3 Grade 3 Foundation Foundation

1 2 Grade 2 Grade 2 Grade 2 Grade 2

Grade 1 Grade 1 Grade 1 Grade 1

Entry
1 Initial Initial Initial
Level 3

* Regulated Qualifications Framework

** European Qualifications Framework
† Not RQF or EQF regulated

6
 Introduction to Trinity’s adapted music performance diplomas

REGULATED TITLES AND QUALIFICATION NUMBERS

FOR MUSIC PERFORMANCE DIPLOMAS

Regulated title Qualification

number

ATCL
600/0949/4
TCL Level 4 Diploma in Music Performance

LTCL 600/0984/6
TCL Level 6 Diploma in Music Performance

POST-NOMINALS AND ACADEMIC DRESS

In addition to being entitled to use the appropriate post-nominal letters after their name (ATCL
or LTCL), holders of Trinity diplomas are entitled to wear academic dress. Associates are entitled
to wear an academic gown, and Licentiates a gown and hood (purple edged with mauve).
Candidates wishing to obtain academic dress should email music@trinitycollege.com for
appropriate authorisation.

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Learning outcomes

Learning outcomes

ATCL
(RQF Level 4)

The learner will:

◗ Present a fluent and accurate performance of the repertoire

◗ Be able to execute all technical aspects of the music at a standard commensurate with the level
◗ Communicate through a developing musical voice

LTCL
(RQF Level 6)

The learner will:

◗ Present a fluent and accurate performance of the repertoire, with contextual understanding
of the material
◗ Communicate all technical and artistic aspects of the music at a standard commensurate
with the level
◗ Demonstrate their own musical voice in interpreting the performance objectives, drawing
upon a variety of experiences in individual performance

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 About the exams

About the exams

Each exam has two sections: recital and programme & planning.

RECITAL PROGRAMME & PLANNING

Compile and perform a programme
of pieces, chosen from published
repertoire lists, own-choice repertoire,
or a combination of listed and
own-choice repertoire.
Plan a balanced programme that
includes contrasting styles, and
provide a written programme.

RECITAL
96 MARKS

PROGRAMME
& PLANNING
4 MARKS

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About the exams

EXAM STRUCTURE AND MARK SCHEME SUBJECTS OFFERED

Performance diplomas are available in the
Maximum following subjects:
marks ◗ Piano
◗ Harpsichord
RECITAL 96
◗ Organ
◗ Singing
PROGRAMME & PLANNING 4 ◗ Recorder
◗ Flute
◗ Written programme ◗ Oboe
◗ Planning, balance & construction of ◗ Clarinet
the programme
◗ Saxophone
TOTAL 100 ◗ Bassoon
◗ Horn in F
◗ Trumpet / Bb cornet / Eb cornet
◗ Trombone
◗ Bass trombone
◗ Tenor horn
◗ Baritone / Euphonium
◗ Tuba / Eb bass / Bb bass
◗ Drum kit
◗ Percussion
◗ Violin
◗ Viola
◗ Cello
◗ Double bass
◗ Harp
◗ Guitar
Repertoire lists for the above subjects
are available at trinitycollege.com/
performance-diplomas
Candidates wishing to perform on an
instrument that is not listed should
contact Trinity’s music support team
at music@trinitycollege.com

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Recital
RECITAL
96 MARKS
CHOOSING PIECES
◗ Candidates should compile and perform a
varied and contrasting programme of the
required duration (see timings opposite).
◗ All programmes (except percussion)
must consist of a minimum of two works.
Percussion programmes must consist of
a minimum of three works.
◗ The music performed can:
— Be drawn entirely from the appropriate
repertoire list, which can be found
at trinitycollege.com/performance-
diplomas
— Combine pieces from the appropriate ◗ Excessive breaks between movements and/
repertoire list with own-choice pieces
— Contain only own-choice pieces
REPERTOIRE GUIDELINES
◗ Sonatas, sonatinas, suites and other works
composed as complete unities should
normally be played complete (ie all sections
or movements should be played).
◗ Depending on the diploma level and the
repertoire available for the instrument,
candidates may include selected
movements, provided that the overall
programme is balanced. Suitable examples
of selected movements are included in the
repertoire lists.
Recital
◗ All works should be performed complete,
except where single movements
are specified.
◗ Programmes that include single
movements from works (except where
specified) must be submitted for approval.
◗ Performance programmes should display
a range of moods, styles and tempi.
Candidates should bear the artistic
coherence of the programme in mind when
selecting repertoire and/or proposing
programmes for approval. See page 12 for
more information.
RECITAL TIMINGS
◗ Timings are as follows:
Performance
Diploma duration (minutes)
ATCL 32–38
LTCL 37–43
◗ Please note that the performance durations
listed above refer to the total duration of all
the pieces performed.
or pieces should be avoided.
◗ Performances that fall outside the listed
durations will be referred to Trinity’s
central office and will be penalised by a
mark reduction or, in extreme cases, by
disqualification. Performances which exceed
the required duration may not be listened to
in their entirety.
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Recital
OWN-CHOICE REPERTOIRE
◗ Candidates wishing to propose a programme
consisting partly or completely of pieces
that are not listed in the relevant repertoire
list (available at trinitycollege.com/
performance-diplomas) must submit
the whole programme for approval.
Programmes must also be submitted if
they include single movements from items
listed as complete in the repertoire list.
The process for submitting programmes
is outlined below.
◗ Before submitting a programme, candidates
should check each own-choice item against
Trinity’s current grade, certificate and
diploma repertoire lists. Repertoire listed
in any current Trinity grade, certificate
or lower diploma cannot be selected as
own-choice repertoire. However, where
a movement or part of a piece is set for
a graded exam, the whole piece may be
submitted as an own-choice diploma item.
◗ Own-choice pieces must demonstrate a
comparable level of technical and musical
demand to the pieces listed in the repertoire
list for the relevant instrument, available at
trinitycollege.com/performance-diplomas
◗ Inclusion of repertoire items in any other
exam board’s diploma lists does not
guarantee that they will be approved for
a Trinity diploma.
◗ Items considered to be of greater demand
than the level may be proposed, but may
not then be performed in any higher level
diploma subsequently entered (ie candidates
may not submit the same piece of music for
two or more diplomas at increasing levels).
◗ Our online approvals process enables you
to check the level of the repertoire with the
help of our experts. Items are considered in
the context of the whole programme, and
pieces approved in one programme may
not necessarily be approved in another.
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PROGRAMME APPROVAL
◗ We offer an online programme approvals
process, which puts you directly in touch
with our panel of instrumental experts.
Candidates should visit trinitycollege.com/
approvals and provide all details as requested
on the online form.
◗ Candidates must submit complete
programmes and may send in only one
complete programme for approval at
any time.
◗ Please note that we are unable to consider
submissions of individual pieces.
◗ Our panel of expert instrumental specialists
consider own-choice programme submissions,
and applicants normally receive a response
within 15 working days.
◗ If the proposal is accepted we will email
the candidate a programme approval
confirmation letter, which will remain valid
for two years. A copy of the letter must
be uploaded with the filmed recital and
written programme, otherwise results
may be delayed or the candidate may
be disqualified.
◗ If the proposal is not approved we will notify
the candidate by email. The candidate
should then change piece(s) as necessary
and re-submit the whole programme (or
replace the whole programme with pieces
from the relevant repertoire list).
◗ In approving programme proposals we
do not consider either timing or balance.
The approval is simply in terms of
technical and musical difficulty, and it is
the candidate’s responsibility to design an
appropriate and balanced programme that
complies with the stipulated timings.
◗ Once an approval letter has been issued, if
any alteration needs to be made then the
complete programme must be resubmitted
for approval.

◗ Trinity cannot accept responsibility
if candidates enter for an exam
without approval for their programme.
Candidates are strongly advised not to enter
until their programme has been approved.
◗ Trinity’s decision on approval of any item or
programme is final.
INSTRUMENTS
◗ Candidates should only perform on one type
of instrument throughout their recital.
◗ Candidates may, however, use two or more
different members of the same instrument
family, eg soprano and alto recorders, or Bb
and Eb trumpets.
◗ Candidates should ensure that they have
a suitable instrument available on which
to perform the repertoire for their recital.
◗ Candidates must complete basic tuning
before beginning the recording.
◗ Piano candidates are allowed a few
moments to familiarise themselves with
the piano. The recording should begin
after this.
◗ Instrument-specific information
and requirements are included in the
relevant repertoire lists available at
trinitycollege.com/performance-diplomas
◗ Candidates wishing to perform on an
instrument that is not listed on page 10
should contact Trinity’s music support team
at music@trinitycollege.com
◗ In the event of a local or national lockdown
we understand that candidates may
have restricted access to appropriate
instruments. Please refer to the ‘Covid-19
special arrangements for digital music
exams’ document on our website for
guidance on alternative arrangements.
Recital
PERFORMANCE AND INTERPRETATION
◗ All da capo and dal segno instructions
should be observed. Repeats of the
exposition/recapitulation sections and
other long repeats, as well as those within
variations, should not be played. If the
examiner feels that the overall performing
time of the recital has been compromised,
for instance by the inclusion of repeats
in other areas that are not justified
musically, the exam may be referred and/
or invalidated.
◗ All cadenzas should be played; these may be
improvised or played from scores.
◗ Candidates are not required to perform
from memory at any level, and no additional
marks are given for this. However, candidates
are encouraged to play all or part of their
programme from memory if they feel that it
will enhance their performance.
◗ Spoken introductions are not permitted.
◗ Candidates must not state their name or
show identification on their video recording
at any time.
STAGECRAFT (PRESENTATION)
◗ Marks are awarded for stagecraft, which
takes into account the overall presentation
of the recital.
◗ For all performers and participants, a strong
presentation would include:
— Good management of music and page
turns, including use of a page turner
where appropriate
— A professional level of general
comportment
— Appropriate dress, as might be expected
for a public recital or video performance 
— Care in pacing; breaks between
movements and works should neither
hurry nor disrupt the flow of the recital
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Recital
ACCOMPANIMENTS
◗ Pieces that are published with an
accompaniment must not be performed
unaccompanied (except in the event of a
local or national lockdown — see below).
◗ There should normally be only one
accompanist, although there may be two
in some cases, eg Baroque continuo group.
The accompanist does not need to be in shot
during the filming of the performance.
◗ Where accompaniments feature long
introductions or endings (or long tutti
passages in concerto movements), these
should be shortened in a way that is
musically appropriate. If the examiner feels
that the overall performing time of the
recital has been compromised, for instance
by the inclusion of long opening or closing
tuttis or introductions, the exam may be
referred and/or invalidated.
◗ Recorded accompaniments are not allowed
in diploma exams except where required
by the genre, in which case approval
must be obtained in advance of the exam.
(Alternative arrangements apply in the
event of a local or national lockdown —
see below.)
◗ In the event of a local or national lockdown
we understand that it may not be possible
to perform with an accompanist.
Please refer to the ‘Covid-19 special
arrangements for digital music exams’
document on our website for guidance
on alternative arrangements.
14
PAGE TURNS
◗ A page turner is allowed to turn pages for
the soloist in piano, harpsichord, organ or
harp diplomas, or for the accompanist in
any other diploma.
MUSIC AND COPIES
◗ Candidates should obtain the music for their
exam in good time before entering for the
exam, and they must upload copies of each
piece alongside their filmed recital, written
programme and any approval letters.
◗ Recommended editions are indicated in
the repertoire lists, but candidates may
perform from any reliable edition that has
not been shortened or otherwise simplified.
Editions containing inauthentic performance
directions, for example Romantic phrasing in
Baroque repertoire, are not acceptable.
◗ We take copyright infringement seriously
and require candidates to ensure their
music comes from a legitimate source.
Guidelines are available in the UK Music
Publishers Association’s Code of Fair
Practice, available at mpaonline.org.uk.
Candidates must comply with copyright
and other intellectual property laws in the
country where the exam is taking place.
◗ Candidates must upload copies of all pieces
to be performed as a reference for the
examiner. Failure to provide copies will
result in invalidation of the exam.
 Programme & planning

Programme & planning

This section of the exam is split into two:

WRITTEN PROGRAMME
2 marks
◗ Candidates should upload a formatted
PROGRAMME programme document to our online platform
& PLANNING with their video recital performance.
4 MARKS ◗ Programmes must include the following:
— Names of the candidate and accompanist
(if applicable)
— Date of the recital
— Composers, full titles and opus numbers
(where available) of all the works to
be played, in order of performance
(NB detailed notes on the pieces are
not required)
— An accurate timing for each piece, and for
the entire programme
— For singing diplomas only: translations of
the song texts

PLANNING, BALANCE & CONSTRUCTION

OF THE PROGRAMME
2 marks
◗ Examiners will consider the extent to which:
— The programme is well balanced and
includes a contrast of styles
— The programme order is musically
effective, and the programme is
artistically effective as a whole

15
Submitting your exam for assessment

Submitting your exam

for assessment
Please read the following closely before you submit your video performance to our online
platform via trinitycollege.com/digital-music-diplomas:
◗ Play back your video to ensure that the sound and visual quality is sufficient for an examiner
to mark it.
◗ Ensure your video is one continuous recording of all your pieces from start to finish and you
have not edited this into different sections or paused or stopped the video at any point.
◗ Only submit one take of your performance.
◗ Audio and video must be recorded simultaneously and no pre- or post-production techniques
should be applied.
◗ Your files should be labelled with your name, subject and level, for example:
ForenameSurname_Piano_LTCL
◗ Upload your completed submission information form (available at trinitycollege.com/
digital-music-diplomas), detailing your chosen pieces in the order that you are playing them.
◗ Upload your printed programme.
◗ If applicable, upload your programme approval confirmation letter.
◗ Upload scans or photographs of your performance pieces.
◗ Do not delete your performance video until you have received your feedback and certificate,
just in case there are any technical issues and you are required to resubmit.
◗ Your books/legally downloaded copies must be in shot when you film your performance.
Please make sure they will be visible to the examiner so that they can confirm that you are
playing from a legal copy — even if you choose to perform from memory. In the case that you
have purchased a digital copy and are playing from a tablet or eReader, please show the copy
on screen to the camera, ensuring that the watermark is clearly legible, so the examiner
can confirm the purchase.
◗ Full details of how to film your performance, what should be in shot and how to upload your
files can be found at trinitycollege.com/music-filming-guidance
◗ You are allowed to have someone filming your performance, and another person can be
present as an accompanist. However, indications of pulse, verbal or non-verbal entry cues,
or the playing of an additional instrument will result in a syllabus infringement.
◗ You may not enter the same performance video for the same exam more than once, unless
Trinity requires you to resubmit your video.
◗ You may not share your performance video on social media, or use it for any other exam
entries, either with Trinity or with any other exam board.

16
 Marking

Marking
HOW THE EXAM IS MARKED
Examiners give comments and marks for both
sections of the exam, up to the maximum
marks listed in the table on page 10.
It is not necessary to pass both sections in
order to achieve a pass overall.
The total mark for the exam corresponds to
different attainment levels as follows:
Total mark Attainment level
80–100 DISTINCTION
RECITAL
The recital is awarded three separate marks
for specific musical components, allowing
candidates to receive precise feedback
about specific aspects of their performance.
These marks combine to give an overall mark
for the recital.
The three components are:
Fluency & accuracy
◗ Fluency
◗ Rhythmic and notational accuracy

60–79 PASS Technical assurance & application

◗ Technical facility
45–59 BELOW PASS 1
◗ Control, flexibility and variety of tone
0–44 BELOW PASS 2 ◗ Expressive, stylistic use of articulation,
phrasing and detail
Musical sense & communication
◗ Idiomatic engagement and musical
sensitivity
◗ Communication of the repertoire
◗ Persuasive and convincing interpretation
◗ Stagecraft
◗ Delivery
Marks are awarded for these components to
form a total mark for the recital as follows:

Max. mark Component

32 FLUENCY & ACCURACY

TECHNICAL ASSURANCE
32
& APPLICATION

MUSICAL SENSE &

32
COMMUNICATION

TOTAL MARK FOR

96
RECITAL

The remaining four marks are awarded for

the programme & planning section.

17
Piano Syllabus
Marking

HOW RECITAL IS MARKED

Examiners use the criteria below to decide on the mark.

DISTINCTION DISTINCTION PASS

30–32 MARKS 26–29 MARKS 23–25 MARKS

Fluency & Completely Excellent fluency. Very good fluency.

accuracy consistent and
There are few errors. There are some errors,
accomplished fluency.
but a very good level
Slips are wholly of security.
insignificant.

Technical Completely assured Assured Strong technical facility.

assurance & technical facility. technical facility.
Very good control,
application
Exceptional control, Excellent control, flexibility and variety
flexibility and variety flexibility and variety of tone.
of tone. of tone.
Expressive, stylistic use
Fully expressive, Highly expressive, of articulation, phrasing
stylistic use of stylistic use of and detail.
articulation, phrasing articulation, phrasing
and detail. and detail.

Musical sense & A completely An excellent level of A very good level of

communication consistent and idiomatic engagement idiomatic engagement
exceptionally high and musical sensitivity. and musical sensitivity.
level of idiomatic
Very effective Effective communication
engagement and
communication of the repertoire.
musical sensitivity.
of the repertoire.
Persuasive, convincing
Highly effective
Highly persuasive, performances.
communication
convincing
of the repertoire. Largely secure
interpretations.
stagecraft and delivery.
Fully persuasive,
Secure stagecraft
convincing
and delivery.
interpretations.
Strong stagecraft
and delivery.

18

PASS
19–22 MARKS
Good fluency.
There are some errors,
but a good level of
security overall.
Reliable technical facility.
Good control, flexibility and
variety of tone.
Mostly expressive, stylistic
use of articulation, phrasing
and detail.
A good level of idiomatic
engagement and
musical sensitivity.
Generally effective
communication of
the repertoire.
Generally persuasive,
convincing interpretations
overall.
Mostly secure stagecraft
and delivery.
BELOW PASS 1
10–18 MARKS
An inconsistent level
of fluency.
Accuracy is unreliable.
Unreliable technical facility.
Inconsistent control, flexibility
and variety of tone.
Stylistic or expressive use
of articulation, phrasing and
detail is not persuasive.
An inconsistent level of
idiomatic engagement
and musical sensitivity.
Inconsistent communication
of the repertoire.
The interpretations are not
fully persuasive or convincing.
Stagecraft and delivery lack
assurance.
Marking
BELOW PASS 2
1–9 MARKS
Fluency is not achieved.
Security in accuracy is lacking.
Technical facility is not
in evidence.
Limited control, flexibility
and variety of tone.
Little stylistic or expressive
use of articulation, phrasing
and detail.
Idiomatic and musical
sensitivity are not in evidence.
Communication is
very restricted.
The interpretations lack
persuasion and conviction.
Stagecraft and delivery are
insecure.
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Piano guidance:
Exam Syllabus Marking

HOW PROGRAMME & PLANNING IS MARKED

Examiners use the criteria below to decide on the mark.

2 MARKS 1 MARK 0 MARKS

Written The programme Not all of the required No written

programme booklet is well elements are included programme
presented and and the format is not is offered.
contains all the completely as expected.
required elements.

Planning, A well balanced, A generally The programme

balance & interesting well balanced, choices are narrow
construction of programme interesting programme. in contrast.
the programme The order is The order has been given The order has not
musically effective. some consideration. been considered.
.

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 Diploma resources

Diploma resources
Join us online to access a range of resources
to support teaching and learning at
trinitycollege.com/diploma-resources
Digital resources are available, including advice
and content on:
◗ Planning and construction of a programme
◗ Preparing for a recital
For further help you can contact the music
support team at Trinity’s central office at
music@trinitycollege.com, or find the
contact details of your local representative
at trinitycollege.com/worldwide

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